Opera favourite Carmen gets a grungy makeover for Cockatoo Island

Opera favourite Carmen takes an industrial grunge aspect in keeping with the atmospheric setting of Cockatoo Island.

Opera Australia’s production of Carmen on Cockatoo Island. Picture: Hamilton Lund

• Surprises a’plenty at Simone’s party
• Songs from the dark side
• Drama to spare as Butterfly takes wing
• Meanwhile down at the swamp

Opera Australia’s rollicking production of Bizet’s classic Carmen with its grungy rock vibe, industrial set and wondrous if a little over-amped music will probably appeal to a host of younger operagoers.

Certainly there were plenty of under-30s at the opening night at Cockatoo Island, in the middle of Sydney Harbour.

It was a high-energy production, the singing was excellent and although I generally dislike modernised tinkering with classics this simply worked. Well, almost.

Carmen Topciu’s Carmencita was a tartier, less likeable character, sneering from the sidelines as her lover tried to cope with conflicting demands of filial and soldierly duty.

Carmen Topciu showed effortless control. Picture: Prudence Upton

That said, her rich mezzosoprano with its appealing tessitura, at times soaring in the night sky, or, more rarely, gentle as the wind, with seemingly effortless control.

Italian tenor Roberto Aronica played Don Jose, Carmen’s lover, with a subdued intensity that gave way to uncontrolled jealousy as her affections turned to pure contempt.

The object of his jealousy, the torero Escamillo, was performed with rock star-like elan by the always impressive Daniel Sumegi, he of the stirring oh-so-deep bass baritone and all the assurance of a stage veteran.

Danita Weatherstone played Micaela, the good girl who loves Don Jose, using her versatile soprano to good effect, particularly in Act III, when she realises all is lost.

There were fireworks, motorbikes roaring through the audience and up on to the stage, the backdrop of the harbour and sails passing nearby, energetic dancing … even the more extravagant costumes of the LGBT community in the audience added to the sparkle of the night.

I don’t know if the motorbikes were really necessary but the spirited scene in which one substituted for a bull, complete with horns mounted on the front, was an inspired invention.

The orchestra, under the capable hand of Tahu Matheson, remained hidden somewhere in the darker corners beside the stage and the chorus was in fine form.

Despite its flaws, this production is well worth seeing.

Footnote: Shuttle ferries run to Cockatoo Island from King Street Wharf; the trip takes about 12 minutes. Sydney ferries’ F3 and F8 services run from Circular Quay and Barangaroo, as well as some wharves along the harbour, including Woolwich, Greenwich, Birchgrove and Balmain (more information, including timetables, on the Transport NSW website https://transportnsw.info/routes/details/sydney-ferries/f8/090F8 and passengers can use their Opal cards. You can also go by water taxi or private boat). Surprisingly, there were few if any delays at the end of the night on OA’s shuttle ferries.

DETAILS

• OPERA: Carmen

• STARS: Carmen Topciu, Roberto Aronica, Daniel Sumegi, Danita Weatherstone

• AT: Cockatoo Island

• UNTIL: December 18

• BOOKINGS: 9318 8200, [e-mail]